The film tells the story of Muna and her 16-year old son, Fadi (Melkar Muallem), starting from their stoical life in Palestine to their heart-felt decision to move to a suburb in Illinois to live with Muna’s sister, Raghda (played by veteran actor Hiam Abbass) and her family: Raghda’s physician husband, Nabeel Halaby (Yussuf Abu-Warda), and their three daughters.

The move to the United States is catalyzed by both a fortunate and misfortunate turn of events. Muna and Fadi win a green card lottery for the United States, but the decision to move is only cemented after a confrontation with an IDF soldier at a checkpoint. This shows the audience both the external conflict of actual occupation and bias in a post-911 America and internal conflict of displacement.

The movie does not have a political agenda as much as it is a real, personal story. The director, Dabis, grew up in the Midwest during the Gulf War as the daughter of a Palestinian father and Jordanian mother. Much of the bias shown in the film is a reflection of Dabis’ own experience. She confessed that as a child, there were rumors that her father has a son in the Iraqi army and the Secret Service actually came to her school to investigate a rumor that her sister had threatened to kill the president.

The film has some poignant scenes and memorable one-liners. The conflict between Raghda and her oldest daughter, Salma, played by Alia Shawkat (Arrested Development), reveals the identity crisis of a first-generation Arab immigrant. In one particular scene, Salma comes home late from a night of smoking marijuana with her boyfriend and her mom tells her she doesn’t want her daughter running around like “American girls.” Salma defiantly retorts, “Here’s a shocker Mom: We live in America! We’re American!” to which the mom replies, “Listen, habibti, as long as you live in this house, you live in Palestine!”

Another testament to Dabis’ authentic and sometimes, light dialogue — it has been said that Arabs often use humor as a means to cope — is the scene with the immigration officer at the airport. After inquiring why Muna has no citizenship and no country, he asks her what her “occupation” is to which she matter-of-factly responds: “Yes, for 40 years, we have been occupied.”

The movie almost flawlessly documents the teenage-angst of adjusting, as the teenagers are caught between their heritage and the place they now call “home.” Surprisingly, it is in America, not Palestine, where Fadi is arrested and jailed. In Illinois, he battles with bias sentiments and bullying, much like that shown in the beginning scenes of Ramallah.

During customs, Muna loses all of her savings, which she ignorantly hid in a tin of sweets. Thus, she is put in a position of desperation, which is furthered when she is unable to get a job except at the fast-food burger joint, White Castle, despite having ten years experience and two degrees.  She also faces the challenges of being an FOB (fresh off the boat) in a highly charged political era.

After it’s premiere at Sundance, “Amreeka” was screened at the Cannes Film Festival where it won the FIPRESCI Prize.  It was screened at a number of festivals worldwide and distributed under National Geographic Entertainment for a limited release in the United States. If you haven’t seen the film, go watch it now! Much like it’s main character, “Amreeka” is charming and entertaining, from beginning to end.